Such Measures as he shall judge necessary
by D.F.London
Summary: After an accident Clark and his father see the shape of things to come. (N.B. Set somewhere mid season 3, No S3 spoilers)
1. Teaser

Teaser  
  
  
  
Scene 1 EXT. Establishing shot of the White House. - Day.  
  
CUT TO:  
  
Scene 2INT. Main Lobby of the White House - Day.  
  
We hear voices as the shot opens into the main foyer. Starting with a shot of the floor we see legs rushing past in every direction. This is a busy place. As we pan up we see people rushing around and dozens of new teams frantically trying to set up their equipment.   
  
STAFFER1 V.O:I don't know either. He only announced it thirty minutes ago.  
  
STAFFER2: V.O: But a press conference in the lobby -  
  
STAFFER3: V.O: We'd be better on the lawn…   
  
STAFFER2 V.O.:Shoulda given it on the Hill.   
  
The camera comes to rest on a news REPORTER, we peak over the shoulder of the CAMERAMAN as the REPORTER delivers the live time-filler.   
  
REPORTER: Still no word from the Press Secretary as to exactly what it is that President wishes to announce here today. The Cabinet session will begin in just one hour but it seems that the President is making the unusual step of announcing something to the world before speaking to his cabinet about it. Sources inside the Cabinet indicate that only the Vice President has been informed.   
  
The camera moves away from the REPORTER as we hear the report continue. We pan over to a large doorway through which secret service agents are moving.   
  
REPORTER V.O.: (Cont)This is being taken as just the latest in a series of snubs by the Oval Office which has seen the President increasingly show contempt not only for his Cabinet but also Congress. Political analysts continue to speculate that there has been no counter by leading members of either party because of the President's unprecedented popularity. Latest approval figures indicate… hang on.   
  
Through the door CHLOE, in her late thirties, comes striding confidently and purposefully. She steps up to the podium bearing the seal of the President.   
  
REPORTER V.O.: (Cont)Just a moment, we now have the White House Press Secretary, Chloe Sullivan.  
  
CHLOE: Ladies and Gentlemen of the press. Viewers at home, we're glad you could be here for this historic announcement. Without any further delay: the President of the United States of America.   
  
Through the doorway, shadowed by two secret service agents walks the President of the United States. Despite being in his early forties he is instantly recognisable as LEX LUTHOR:   
  
LEX: Ladies and Gentlemen. My fellow Americans. I choose to make this announcement not behind a desk in the Oval Office, read from some teleprompter, but here, among you and from the heart. We have great news.   
  
(beat)  
  
Peace. Peace, unexpected but welcome. Peace with Pokolistan, Now, we are finally free from the fear of terror from without we can turn our attention on the menace within. The metahuman enemy that corrupts us from within.   
  
Thanks to the help of Pokolistan's president Zod, we have the means now to bring down this ring of terrorists and their extra-terrestrial leader who flaunts our laws, our society and endangers our lives with his egotistic attempts to play vigilante hero.   
  
(beat)  
  
There's nowhere to run. Nowhere to hide. Wanted: Dead or alive  
  
(beat)  
  
Superman is finished.   
  
FADE TO:  
  
MAIN CREDITS  
  
END OF TEASER. 


	2. Act One

ACT ONE  
  
FADE IN:  
  
Scene 3 EXT Establishing shot of the Kent Farm - Day  
  
CUT TO:  
  
Scene 4 INT Kent Kitchen - Day  
  
MARTHA is clearing away breakfast. JONATHAN is at the table, looking over a magazine.  
  
MARTHA  
(Calling)  
Clark! You're gonna be late for school.  
  
The camera moves to look over JONATHAN's shoulder, showing the magazine.  
  
JONATHAN  
(Not looking up from magazine, calling)  
If you -  
  
We here the sound of Clark's super speed.  
  
JONATHAN:(continued)  
(calling)  
Get a detention you  
(beat)  
Won't  
(beat)  
Be able.  
  
JOHNATHAN lowers the magazine and reveals CLARK sitting opposite him at the table, eating into a bowl of cereal.  
  
CLARK:  
It's okay, I'll make it.  
  
JONATHAN:  
You do still want to come with me to the Autoyard don't you son?  
  
CLARK:  
You bet dad, can't let you buy another rust-bucket.  
  
MARTHA:  
Now Clark  
(beat)  
It was more of a junk-heap and you know it.  
  
They all laugh.  
  
JONATHAN:  
If my loving family is finished with all the kind words of support I'm  
gonna go start on the east fence.  
(to CLARK)  
I'll pick you up from school son.  
  
CLARK:  
It's okay dad, I can just zip over to Hank's myself.  
  
JONATHAN:  
Well, if. okay.  
  
MARTHA: Clark, go with your dad. There's no point using your powers out in the open  
for no good reason.  
  
CLARK:  
But mom.  
  
MARTHA gives CLARK an unusual look.  
  
CLARK(Continued)  
Okay mom. I'll see you after school dad.  
  
JONATHAN:  
Then I'll see you both later.  
  
JONATHAN kisses MARTHA and then leaves.  
  
CLARK:  
Mom?  
(beat)  
What was that about?  
  
MARTHA:  
Clark, you probably don't see this but your father misses you.  
  
CLARK:  
But mom, I live right here.  
  
MARTHA: Yes Clark, and no. Look your dad has been there for you since the day we picked you up. He's got used to helping you, being there for you. But ever since, the. accident. It's been clear that you don't need him as much any  
more.  
  
CLARK:  
He still blames me for the accident.  
  
MARTHA:  
Clark, no! He never blamed you for what happened with the baby. He was angry with you, he thinks you made the wrong choice, but he never. never  
blamed you for the death of your brother.  
  
CLARK:  
Then what?  
  
MARTHA: Clark you spend more and more time with Lana now. You confide in Pete more  
and more. Now you won't take a ride from your dad. Can't you see he's feeling that he's losing you. Ever since you ran away he's had to face the  
idea that you will leave us one day. It hurts him, Clark.  
  
CLARK:  
I'm always going to need him. I'm always going to need both of you.  
  
MARTHA:  
That's great Clark. But I'm not the one who needs to hear that.  
  
We slowly close in on Clark, who looks concerned as we  
  
CUT TO  
  
Scene 5 INT The Torch Office - Day  
  
At her desk the present-day CHLOE sits working at her keyboard. As the camera pans around we see, in the doorway, the present-day LEX. She notices him with a start.  
  
CHLOE:  
Lex. What are you doing here?  
  
LEX: I could ask you the same Chloe. But then you're here every morning before  
school, these days, working away.  
  
CHLOE:  
The Torch doesn't edit itself.  
  
LEX:  
Right. So it's the Torch that's taking up your time. Not say, your new  
column for the Planet..  
  
CHLOE looks surprised and opens her mouth to speak.  
  
LEX:(Continued)  
Or maybe. the secret research project you're doing for my father.  
  
CHLOE:  
What. uh. research?  
  
LEX:  
Tip for the future Chloe, when you decide to keep a secret you should practice lying about it. I have my father watched as closely as he watches me. I know that he fixed the job at the Planet for you. Not that you aren't  
qualified. More than qualified.  
  
CHLOE looks torn between being pleased with the complement and concerned at the revelation of this secret.  
  
LEX(Continued)  
I know that the price was that you put together a profile on Clark.  
  
CHLOE: And you're here to tell me to stop. To see the error of my ways? To come  
back from the dark side?  
  
LEX:  
We both know it's too late for that. I know that you've re-awoken that  
curiosity about the enigma that is Clark Kent. You put those questions aside and now that you think your friendship is over you have nothing to  
stop you asking them.  
  
CHLOE:  
Lex, I'm busy. Why are you here?  
  
LEX:  
To offer information. You are not the only person who ever investigated Clark and his family. I have answers to questions you haven't even thought  
to ask yet.  
  
CHLOE:  
And you'll just give me the information.  
  
LEX: Of course not. But if you show me yours I'll show you mine. If you promise to come to me first with anything you find out about Clark, I will in turn  
feed you more information.  
  
CHLOE: I don't think so Lex. But thanks for the offer. But why do I need the son's  
help when I have the father's?  
  
LEX: Oh, my father's influence is about to be massively curtailed Chloe. Picking  
sides might not be the wisest move.  
(He places a small envelope on the desk by her keyboard)  
But as a token of my sincerity I'm giving you this. Free of charge, no strings. Just one of the many little facts I have that may interest you.  
(LEX turns and walks slowly to the door)  
And if you want any more you know what you have to do.  
  
CUT TO:  
  
Scene 6 EXT. Smallvilel High - Day  
  
CLARK and PETE are coming out of school, surrounded by a throng of students.  
  
PETE:  
So what're you doing tonight? As if I need to ask!  
  
CLARK:  
What? What do you mean?  
  
PETE: Oh come on Clark. You've been hiding out at the farm every night for weeks  
now.  
  
CLARK: Look it's just... It's just that... well.... well anyway I'm not going to  
the farm. My dad's picking me up.  
  
PETE:  
Oh. Yeah?  
  
CLARK: We're going over to Hank's Autoyard. We need to get a new truck... well to  
be honest we've needed one for quite a while now.  
  
PETE: Yeah well with them blowing up and you throwing people onto them I'm not  
surprised.  
(lowering his voice) Plus, y'know, hauling spaceships probably wasn't what they were designed  
for.  
  
CLARK:  
(smiles)  
So you wanna come? I'm sure it'll be okay.  
  
PETE:  
I wish. I've got dragged into helping with another fundraiser for the  
governor.  
  
CLARK: I told you that you shouldn't dabble in politics. One internship and now  
you're trapped for life.  
  
PETE:  
Tell me about it.  
  
We see JONATHAN's truck pull up, somewhat noisely, outside the school.  
  
CLARK:  
There's my dad. I guess I'll see you tomorrow.  
  
PETE:  
Sure thing Clark.  
  
CLARK starts to run towards the waiting truck.  
  
PETE(Continued)  
(Shouting after him)  
Remember. You after models with FOUR wheels.  
  
CLARK turns and waves a dismissive hand at his friend. But he's still smiling. He opens the door and climbs in.  
  
CUT TO:  
  
SCENE 7 INT. Jonathan's truck -Day  
  
JONATHAN:  
Well Clark are you ready?  
  
CLARK:  
(looking back out at PETE and waving)  
Sure dad.  
  
JONATHAN starts the engine and we see the car drive away.  
  
JONATHAN:  
So Clark, any thoughts on what our next truck should be?  
  
CLARK:  
You mean besides flame-proof, earthquake-proof and meteor-proof?  
  
JONATHAN:  
(smiles)  
Yeah, besides the obvious.  
  
CLARK:  
Pete says that it should have four wheels.  
  
JONATHAN:  
I'd go for six myself.  
  
CLARK:  
Monster truck?  
  
JONATHAN:  
Steering wheel and a spare, Clark.  
Steering wheel and a spare.  
  
CLARK shakes his head smiling. At this point we show the flaming trail of a comet overhead.  
  
CLARK:  
Dad is that?  
  
JONATHAN:  
It's gonna hit over there by the plant.  
  
CLARK:  
Stop the truck -  
  
CLARK is cut off by the sound of the impact as the meteor crashes down into some storage buildings. A large plume of smoke roars upwards and a blast  
wave radiates outward pulling dust and debris along with it. CLARK and JONATHAN look from the dust cloud rushing towards them, then back  
at each other.  
  
CLARK:  
Dad!  
  
JONATHAN:  
CLARK!  
  
Time slows as we see CLARK react with superspeed. He jumps out of the truck and races in slow motion around the truck. In the background we see the cloud edging closer and closer. CLARK opens the driver door and pulls out his father who at this super speed seems frozen. CLARK puts him over his shoulder and turns to sprint away from the cloud. We see this dramatic slow motion race unfold as CLARK attempts to outrun the blast.  
  
The wave hits the truck, slowly flipping it.  
  
CLARK is slowing down, showing signs of exertion. We see why: the cloud of dust and gas is crackling with green energy from a Kryptonite source.  
  
CLARK slows and stops. Setting his father down he shields JONATHAN with his body as the dust cloud hits.  
  
We return to normal speed to see CLARK and JONATHAN convulsing as energy crackles across their bodies as the wind sweeps past them.  
  
Then they both collapse to the road and lie still.  
  
FADE OUT.  
  
END OF ACT ONE. 


	3. Act Two

ACT TWO

FADE IN:

Scene 8 INT. Jonathan and Martha's bedroom - NIGHT.

MARTHA, in shadow is sitting on the bed beside the sleeping form of JONATHAN who looks the same as before despite a few cuts and bruises. 

JONATHAN awakes with a start and sits up, before wincing and lying back down. 

MARTHA  
Take it easy Jonathan. Don't move you're not ready to get up yet. 

  
JONATHAN  
Ugh- what… what happened?

MARTHA  
It's okay. It's okay you just had a little accident in the truck.

JONATHAN  
Clark. Where's Clark?

MARTHA  
Clark? He's in Metropolis. 

JONATHAN  
Metropolis?   
(He tries to sit up)  
Ow. Ow. Is he okay?

MARTHA  
What? I'm sure he's just fine. 

JONATHAN  
The truck. He must have pulled me out.

MARTHA  
Jonathan, what do you mean? I pulled you out of the truck when you crashed into the barn. You hobbled back here with me.  
(beat)  
Jonathan you're scaring me. 

JONATHAN  
(incredulous)  
Scaring… you!?

We close in on JONATHAN's face as he looks around and then more intently at his wife. His eyes open in shocked disbelief.   
We pull back from JONATHAN to see MARTHA's face, now more clearly lit. We see that she is in fact at least a decade older as we realise this is the older MARTHA.

CUT TO:

Scene 9  INT The Daily Planet Offices - NIGHT

CLARK, who also looks "normal" age, is lying asleep at his desk. His head is resting on his hands. A figure moves up behind him and stretches a hand out. As the hand comes to rest on CLARK's shoulder he wakes up with a start and turns around. It is PERRY WHITE. 

CLARK  
What? What happened?

PERRY  
Well, I guess you fell asleep at your desk again Clark. I swear I don't know what you are up to all night that keeps you so tired. Although I'd bet good money that it's got something to do with either Lois or Lana. 

CLARK  
Lana? Where's my dad? The truck!

PERRY  
Your dad? I guess he's back in Smallville, Clark. 

CLARK  
Ah. I'm… I'm not sure…. My head's spinning a little. 

PERRY  
I think you really ought to get much sleep Clark. You're not making a whole lot of sense. I'll drive you home and you can get an early start tomorrow. 

CLARK  
Uh. Yeah. Right.

FADE OUT:

FADE IN:

Scene 10 EXT. Outside Clark's House –NIGHT

Perry's car pulls up outside the house and CLARK hops out and looks back through the passenger window at PERRY.

PERRY  
Seriously son, get some sleep. I know you and Lois have been working hard on this Flyer story. You're going to see Senator Bryant tomorrow right? What times your flight? Noon?

CLARK  
Wha-? Oh, I guess. 

PERRY  
Then don't come into the Planet before you go, just get some rest. 

CLARK   
Thanks, um, er.  
(He looks like he's trying to think of his name)  
Thanks. 

PERRY  
No problem.

With a wave, PERRY pulls away and drives off. 

CLARK  
Wait… I work at the Daily Planet?

Clark turns around to look at his home. He opens the gate and makes his way inside. He reaches the front door which he tries experimentally… he tugs harder in an effort to force it open.

He stops and starts rummaging around in his pockets. Finally producing a key, which he uses to let himself in. 

CUT TO:

Scene 11 INT. Clark's apartment –CONTINUOUS

CLARK moves into the dark house, closing the door behind him. We can barely make out his silhouette in the darkness.

CLARK  
So this is where I-?

CLARK falls and we hear the crash of a heavy landing and something breaking as we-

FADE OUT:

FADE IN:

Scene 12 EXT. Outside Dulles Airport –NIGHT

We see the main terminal building of Dulles Airport. Making sure to show the sign with the name.

CUT TO:

Scene 13 EXT. Runway –CONTINUOUS

We watch a night-time landing of a passenger aeroplane. As we follow it to the runway we see a figure, out of focus, in the foreground. The camera stays on this person and brings them into focus. It's TALIA HEAD. She's speaking on a mobile telephone to LEX.

TALIA  
No, but the flights not scheduled for another few minutes. 

LEX (V.O.)  
You've got what you need?

TALIA  
Yes, I think he'll find our offer… irresistible.

LEX (V.O.)   
Call me when it's done. 

TALIA  
Yes sir. 

TALIA closes the mobile phone and slips it into her pocket. We wait a moment and then we see the breathless approaching figure of RAWSON CANE. He's smartly dressed and is carrying a briefcase attached to his wrist by a set of handcuffs.

RAWSON  
Ms Head?

TALIA  
Please, call me Talia. 

RAWSON  
Talia, I don't have much time, the flight's leaving in a matter of minutes. 

TALIA  
Then let's get down to business. The Senator is with you?

RAWSON  
He's boarding the plane, I just told him I needed to go to the bathroom. 

TALIA  
How clever. Let me see the case.

Rawson lifts the case for her to see. She slides a hand into an inside pocket and removes a key. 

RAWSON  
How did you?

TALIA  
You didn't notice I suppose that InSec Industries who sold you this model of secure case is a wholly-owned subsidiary of LuthorCorp?

RAWSON  
I – is it?

TALIA  
And I'm the CEO of LuthorCorp. Does that answer your question?

The cuffs open and TALIA takes the case. She picks up an identical case from the floor by her feet and cuffs it to RAWSON's wrist. 

RAWSON  
And this will look like the same report?

TALIA  
More or less. It does however contain a rather alarming report on Presidential misuse of party funds. 

RAWSON  
The Senator will go straight to the press.

TALIA   
Actually he'll go to his party, then the other party and then the press. He's honourable like that. 

RAWSON  
But it'll make Luthor look bad. 

TALIA  
It would make PRESIDENT Luthor look bad, if it were true. The report is bogus and the Senator will lose all credibility. 

RAWSON  
What if he tries to corroborate the report?

TALIA   
Then he'd find out it's bogus and save his career. But you know that a politician even a noble one is still a politician. 

RAWSON  
That's my end of the deal. I gotta go. 

TALIA  
Don't worry when the Senator goes under in the mid-terms you will find yourself in a nice, warm office in the West Wing. 

RAWSON gives a faint smile and hurries back off towards the terminal building.

TALIA turns and walks away as we –

FADE OUT:

FADE IN:

Scene 14 EXT. Runway by the terminal –NIGHT

Rawson comes to a stop a few metres from a passenger aeroplane. He's breathing heavily. He stops and takes several deep breaths. When he has regained his composure he walks around nonchalantly to the steps and walks up into the aeroplane.

CUT TO:

Scene 15. INT. Onboard the Aeroplane –CONTINUOUS

Rawson nods and smiles to the flight attendant as he walks down the aisle. In the seats in front of his sit SENATOR  BRYANT and his PA.

BRYANT  
So what time do we land?

PA  
Twelve thirty, local. 

BRYANT  
I've got time for a quick drink with Mitchell at the hotel then. Excellent. What time's the breakfast?

PA  
Uh, that's eight thirty… you're done by ten thirty, on your way back to Washington by eleven forty five.

RAWSON walks past and sits down.

BRYANT  
Rawson, I thought we'd leave with out you. 

RAWSON  
It's all the coffee senator… keeps me awake but comes at a price.

BRYANT  
(laughs)  
Yeah…  
(to PA)  
What time are those Metropolis reporters coming?

PA  
Two o'clock.

We hear the captain's voice over the intercom.

CAPTAIN (V.O.)  
Okay ladies and gentlemen. I'm your captain and I want to welcome you to this evening's flight…

CUT TO:

Scene 16 INT. Clark's front room. –NIGHT

Clark is sitting on his sofa, looking a little baffled. In his hands is a broken vase. He shakes his head and puts the pieces down on the coffee table in front of him. 

On the coffee table we see a folded copy of the Daily Planet. All we can see other than the logo is a headline "Railcom weapons exported to Pokolistan" and under that "by Lois Lane and Clark Kent". 

As Clark looks at this for a moment and then he is startled by the phone ringing. He answers it.

CLARK  
Uh… hello?

MARTHA(V.O)  
Clark. Oh thank God you're there.

CLARK  
Mom? 

MARTHA(V.O)  
I tried to get you earlier but there was no reply, then I tried the Planet but they said you'd left with Mr White. 

CLARK  
(surprised)  
Mr White? Perry White? That was Perry White??

MARTHA(V.O)  
I know Clark, I met him remember?

CLARK  
(trying to cover)  
Uh, no mom, I meant that I uh… it's just something really weird is going on here… but mom you sound worried. What's up?

CUT TO:

Scene 16  INT. Kent's Kitchen -CONTINUOUS

MARTHA  
It's your father Clark.

CLARK(V.O)  
Dad? What's wrong. 

MARTHA  
Now don't worry too much. He had a little accident in the truck. No real harm done to him or the truck.

CLARK(V.O)  
Are you sure he's okay? Maybe you should take him to the hospital?

MARTHA  
He's okay. He's just a little groggy but he really wants to speak to you. Okay Clark?

CLARK(V.O)  
Okay.

Martha takes the phone and hands it to Jonathan who cups his hand over the mouthpiece.

JONATHAN  
Do you mind if I just speak to him a moment in private?

MARTHA  
(confused)  
What… okay, I'll be upstairs if you need me.

She leaves

JONATHAN  
(on the phone)  
Clark? Clark you there son?

CLARK (V.O.)  
Yeah dad. I'm here.

JONATHAN  
Clark, I'm not really sure what's going on here.

CLARK (V.O.)  
Dad.  
(beat)  
Me neither dad. I don't know how I got here.

JONATHAN  
The meteor, the dust cloud had kryptonite in it?

CLARK (V.O.)  
It sure looked that way. 

JONATHAN  
Then this is not going to be a good thing….

CUT TO:

Scene 17 EXT. Outside the terminal building at Dulles Airport –NIGHT

Talia is standing by a car. She reaches into her pocket and pulls out the mobile phone. 

She dials and we hear it ringing. There's a click as the call is answered. 

LEX (V.O.)  
Yeah?

CUT TO:

Scene 18.  INT. Onboard the Aeroplane –NIGHT

The FLIGHT ATTENDANT walks down the aisle. 

CAPTAIN (V.O.)  
Okay ladies and gentleman we're preparing for take off. Cabin crew to take off positions. 

The Flight attendant stops by Rawson.

FLIGHT ATTENDANT  
Sir, would you like me to put your briefcase in the overhead locker?

Rawson moves his sleeve to show that it's cuffed to his wrist. 

RAWSON  
Only if there's room for me in there. 

The FLIGHT ATTENDANT smiles and walks on. 

CUT TO:

SCENE 19. EXT. Outside the terminal building at Dullis Airport –NIGHT

In the foreground Talia is on the phone. In the background we see the aeroplane taking off. 

TALIA  
It's done. 

LEX (V.O)  
He took it without question?

TALIA  
More or less. 

LEX (V.O)  
And you're confident it'll have the desired result. 

TALIA  
Oh, the Senator's political career is about to go down in flames. 

As the jet climbs into the sky in the background it suddenly explodes, flashing brightly in the night sky and then raining flaming debris down onto the runway.

FADE OUT

END OF ACT TWO.


	4. Act Three

ACT THREE 

FADE IN:

INT. KENTS' KITCHEN – NIGHT

JONATHAN is still talking to CLARK on the phone. 

JONATHAN  
I'm not sure what to do Clark. I mean, I want to tell your mother but at the same time I don't know how to begin to explain this. I mean… until I spoke to you I couldn't be sure that I wasn't just suffering from amnesia. 

CLARK (V.O.)  
You're not dad. But I think you should tell mom… perhaps she can give us a little more information. 

JONATHAN  
You'd better get back here son, we'll figure this thing out. 

CLARK (V.O.)  
But won't mom freak when she sees me?

JONATHAN  
Uh… Clark. Well, you'd best see for yourself. Just come over here. 

CLARK (V.O.)  
Okay dad.

CUT TO:

INT. CLARK'S HOUSE – CONTINUOUS

JONATHAN (V.O.)  
But you'd better check the mirror before you do. 

CLARK  
(puzzled).  
Ah… okay. 

CLARK hangs up the phone and walks over to the other side of the room where there's a full-length mirror.   
As CLARK looks into it we see that the reflection staring back to him is the older Clark of this time. 

CLARK (CONT'D)  
What the…?

CUT TO:

EXT. THE KENT FARM –NIGHT

We hear the sound of CLARK's super speed. He appears on the road and runs at speed up to the house, slowing to normal motion as he arrives. 

He goes up and opens the door. 

CUT TO:

INT. KENTS' KITCHEN –CONTINUOUS

CLARK comes into the room.

CLARK  
Mom, dad. I'm here. 

MARTHA comes into the room and approaches CLARK. He flinches a little as he sees her, much older than he last saw her. They embrace.

MARTHA  
Oh Clark, thanks for coming, I'm just a little concerned about your father. He's acting a little strange and won't let me take him to the doctors.

JONATHAN (O.S)  
That's because I'm not convinced there's anything wrong with me. 

JONATHAN comes into the room, a little shakily and stops and stares open-mouthed at his son. Who does exactly the same thing. Neither of them looks any different.

CLARK  
But how?

JONATHAN  
C'mon son. 

JONATHAN leads CLARK out of the room and we…

CUT TO:

INT. THE BATHROOM –CONTINUOUS

JONATHAN and CLARK enter. They come to a stop in the middle of the darkened room.

JONATHAN   
Now!

JONATHAN reaches forward and turns on a light over the bathroom mirror.   
We see in the mirror the older versions of JONATHAN and CLARK.   
They both look from the mirror versions to the flesh and blood versions that still seem to be "normal" age.   
CLARK  
(concerned)  
What does it mean Dad?

JONATHAN  
It means we're not crazy. 

MARTHA appears in the doorway. 

CLARK  
Mom, do we look different. 

MARTHA  
What do you mean?

CLARK  
Do we look the same to you as we look in the mirror?

MARTHA  
Of course you do. What are you talking about.

JONATHAN   
It's incredible.

MARTHA  
What is? Will one of you explain what on Earth is going on?

MARTHA looks between her husband and son as we…

FADE OUT:

INT- KENTS' KITCHEN – DAWN

MARTHA, JONATHAN and CLARK are sitting around a table. They're sipping coffee in silence. We wait a few seconds before…

MARTHA  
So you really don't remember anything?

JONATHAN  
Well we remember everything that's happened to us… it's just that we don't remember what happened… after that. 

MARTHA  
And you both see each other as you looked, what… ten years ago?

CLARK  
Well, maybe. Erm

JONATHAN  
(looks at CLARK)  
I guess… it's… I mean it was 2003.   
(to MARTHA)  
What is the year now?

MARTHA  
(raises a hand to her mouth in shock, and then lowering it after a second)  
It's 2022.

JONATHAN  
Nineteen years? How is that even possible?

CLARK  
Nineteen?

JONATHAN  
Clark doesn't look like he's in his late thirties!

MARTHA  
We've always assumed it was something to do with his alien DNA 

CLARK  
We have to figure a way of getting us back. 

MARTHA  
But time travel? I mean we've seen it, but not like this!

CLARK  
We've seen it?

MARTHA  
Well, over the years… it's come up. 

JONATHAN  
But it's different somehow… I mean we look old, but no to each other.

CLARK  
A bit Sam Beckett. 

JONATHAN  
Sam who? Do you know something…?

CLARK  
(smiles ruefully)  
Ah, just kidding dad. It's from a TV show.   
(pause)  
But maybe it's like our consciousness were brought here from the past and we landed in our future bodies. For all we know our future selves have woken up in our bodies. 

They all look at each other, nervously. Then suddenly a phone rings.   
JONATHAN   
Is that ours?

MARTHA  
No it's a cell. Check your coat pocket Clark. 

CLARK checks the pocket of his coat and pull out a sleek-looking mobile telephone. He opens it, presses the receive button and puts it to his ear. 

CLARK  
Hello?

LOIS (V.O.)  
Clark it- ewwww. Gross!

CLARK  
What? Who is this?

LOIS (V.O.)  
Clark why are you showing me your ear?

MARTHA  
(whispering)  
Clark… it's a videocell! It's got picture!

CLARK takes the phone away from the side of his head and looks at it. We see on the main display area a very grainy video image of a disgusted-looking LOIS LANE who puts a hand up to ward off the offensive image and the then the screen reads "Voice Mode".

CLARK  
Uh sorry. 

LOIS (V.O.)  
Where are you Clark? I'm at your house and you're not there.

CLARK  
Uh, I'm in Smallville. My... uh... Dad had an accident.

LOIS (V.O.)  
Is he okay?

CLARK  
Yeah he just-

LOIS (V.O.)  
(Interrupting)  
Good, glad to hear it. Look did you hear about the Senator?

CLARK  
Yeah, uh, Mr White said we were flying out to meet him this afternoon.  
LOIS (V.O.)  
Mr White?? Look, Perry doesn't know what he's talking about. After the crash…

CLARK  
Crash?

LOIS (V.O.)  
(irritated)  
The plane crash. The plane crashed that killed the senator? The one you said Perry told you about.

CLARK  
Uh, no sorry, I didn't know. That's terrible. 

LOIS (V.O.)  
Well yes. But we've got to get moving now.

CLARK  
But why, we can't interview him now.

LOIS (V.O.)  
Clark! They are saying it's a terrorist attack, that there was a bomb onboard. We've got to get out there and investigate. 

CLARK  
I don't know… uh  
(he mouths to his mother)  
Who??

MARTHA  
(mouthing)  
Lois Lane.

CLARK  
Look, er, Lois. I think I should stay with my dad today.

LOIS (V.O.)  
Clark Kent are you crazy? This is the story of a lifetime. We've got tickets on a flight to D.C. in two hours and if you're not on it then I think that "Mr White" is going to be very angry with you. 

MARTHA  
(whispering)  
It's probably best you go Clark. 

CLARK  
Okay Lois. I'll see you at the airport. 

He hangs up the phone. 

MARTHA  
I know you'd rather stay here, but I think you ought to get back to work. 

CLARK  
But mom she wants me to go Washington to investigate some terrorist bombing. I haven't even finished high school…. I quit my job at the Torch and now I'm an investigative reporter for the Daily Planet??

MARTHA looks at her husband with concern.

JONATHAN  
I'm sure we can fake it until we find out what's going on. At the moment I'm all out of ideas and we can't afford to wreck our lives, our future lives, by blowing things off. 

CLARK  
Okay.   
(beat)  
I can't believe I have to work with this Lois woman. She seems awful.

MARTHA  
(looks at him incredulously, then smiles)  
You haven't actually seen her yet, have you?

CLARK looks a little bemused as we

FADE OUT:

EXT. METROPOLIS CITY AIRPORT – DAY

We get a shot of the airport including a sign with the name.

CUT TO:

INT. SECURITY OFFICE, METROPOLIS AIRPORT – CONTINUOUS

We have a shot of the door announcing "AIRPORT SECURITY: KEEP OUT". A GUARD walks up to the door and enters.   
We follow the GUARD for a moment before coming to rest on a security monitor through which we see the older version of CLARK standing in the middle of the terminal looking around as though lost. 

CUT TO:

INT. METROPOLIS AIRPORT MAIN TERMINAL – CONTINUOUS

We now see the normal CLARK standing in exactly the same position looking lost.

LOIS (O.S.)  
Clark? What are you doing?

CLARK turns to see LOIS LANE. Here in the flesh she is simply stunning. CLARK looks at her in something approaching awe. He is floored by this beautiful woman. There's a moment while LOIS continues to look confused while CLARK's jaw works up and down but no speech emerges.

LOIS (Cont'd)  
Well Clark?

CLARK  
Ah, Lois. I was, um, looking for you.   
(he smiles).

LOIS  
Gee Clark. You'd think we'd never been to Washington before. 

CLARK  
Uh, it's just that… erm, I was wondering where we check in. 

LOIS  
Check in? Are you okay Clark?

CLARK  
I guess. I just, you know wondered where our tickets are.

LOIS  
Clark stop playing around and come on. The flight's leaving in a few minutes. 

She leads him quickly over to the nearby security check point. A GUARD is there who is checking people through. LOIS pushes Clark first and then starts rummaging around in her handbag.

GUARD  
Sir, your ID?

CLARK  
Um. Yeah. I think I have something somewhere. My wallet… hang on. 

CLARK pats his pockets looking confused. 

GUARD  
I need to see your ID Mr Kent.

CLARK stops and looks up at the sound of his name. 

CLARK   
You know me?

LOIS  
Of course he knows you Clark, he's got a copy of the Daily Planet there on his chair.   
(she sighs)  
Call yourself an investigative reporter.

She reaches into his coat pocket and pulls out his mobile phone, which she hands to the GUARD. He passes it over a handheld scanner that beeps obligingly. 

GUARD  
There you go Mr. Kent. Have a pleasant trip. Say "hi" to Superman from me next time you see him. That time he saved us from the-

LOIS  
Yeah, yeah. We'll tell him. 

She hands him her phone, which also is scanned with a beep. She bustles Clark through the gate as he barely has time to say:

CLARK  
Super…man?

CUT TO:

EXT. OUTSIDE DULLES AIRPORT – DAY

Establishing shot of the airport.

CUT TO:

INT. DULLES AIRPORT, MAIN TERMINAL –CONTINUOUS

LOIS and CLARK appear under a sign saying "DULLES AIRPORT: Welcome to Washington". CLARK looks a little shaky.

LOIS  
Gee Clark. We've flown dozens of times and you've never mentioned a fear of flying or heights before.

CLARK  
It's a childhood thing, it comes and um… goes. 

LOIS  
I think we should interview some of the staff here, see if anyone was on duty last night, see who were the last people to see him that sort of thing. 

CLARK  
Yeah… that sounds…. Good. 

CLARK's attention is attracted to a newsstand. He wanders away from her to stare at a large placard bearing the cover of TIME magazine. It shows superman flying over Metropolis. Underneath the words: "SUPERMAN: Hero or Villain". 

LOIS  
Clark, could you pretend you are listening to me?

LOIS's phone begins to ring. She rummages in her handbag for it. 

CLARK  
Superman? Hero or Villain?

LOIS  
Yeah I know. It's ridiculous. 

LOIS opens the phone and looks into it. 

LOIS   
(into the phone)  
Oh, Perry what is it?

We don't hear the response but CLARK is staring at the placard.

CLARK  
The picture… he's flying. 

LOIS  
(to CLARK)  
Well, yeah, it's a little melodramatic, but Time can pull that off.  
(into the phone)  
No Perry, we're on a story.   
(beat)  
No way.   
(beat)  
Well, okay, if he asked for me. 

She closes the phone and puts it away. CLARK manages to drag his attention off the sign.

LOIS (CONT'D)  
Change of plans Clark. Apparently the President has called a press conference at the White House. No other Planet reporters are here and apparently the President wants us, well me, to cover this. 

CLARK  
White House?

LOIS  
You know, 1600 Pennsylvania Avenue… where the President of the United States lives. We have to go there and report on a press conference. Do you think it may have something to do with the Senator's death? Another series of terrorist attacks maybe?

CLARK  
(shakes his head)  
This is going to be a long day. 

CUT TO:

INT. THE MAIN LOBBY OF THE WHITE HOUSE – DAY

We recognise this scene as being the same as at the start of the show. Reporters are milling around. CLARK and LOIS are standing amid a knot of reporters with small handheld computers. LOIS is operating hers with detached professionalism while CLARK is turning his over in his hands with a baffled look on his face. 

LOIS  
So… any predictions on what the President will say?

CLARK  
No, I… well. 

We change camera angles and see the REPORTER talking into her camera.

REPORTER:  
Still no word from the Press Secretary as to exactly what it is that President wishes to announce here today. The Cabinet session will begin in just one hour but it seems…

We turn our attention back to LOIS and CLARK.

LOIS  
What's up with you today Clark?   
(she looks really concerned for the first time)  
Is it your dad.

CLARK  
Yeah I guess… I wish I could do something for him.

LOIS  
(tenderly)  
I know Clark. I'm sorry. 

They look at each other for a moment. For the first time we get the real sense of the chemistry between these two. 

CLARK  
(looking away)  
But reporting from the White House… I wish Chloe was here. 

LOIS  
Yeah, she's late… oh here she comes. 

CLARK  
What?

CLARK looks up see CHLOE enter. He watches, his face betraying his stunned disbelief as she begins her address.  
CHLOE  
Ladies and Gentlemen of the press. Viewers at home…

FADE OUT:

END OF ACT THREE


	5. Act Four

ACT FOUR 

FADE IN:

INT. THE MAIN LOBBY OF THE WHITE HOUSE – DAY

It is the closing stages of the press conference. LEX is addressing the gathered reporters. LOIS is scribbling notes frantically while CLARK stands looking confused.

LEX  
I don't really wish to make any further statement on that issue at this time. I'm sure you understand.

A dozen hands shoot up and reporters begin calling "Mr President!"

CHLOE steps up to the podium.

CHLOE  
I'm afraid that's all the time the President has for you just now as he is meeting with Cabinet in a matter of minutes. However if you would care to follow me to the pressroom I'll be providing some extra background information and answering questions.

The reporters begin to amble off toward the pressroom. 

LEX is speaking with some of his staff. He stops when he catches sight of CLARK and comes over, two Secret Service AGENTS hovering nearby. 

LEX  
Clark! I'm glad you could be here. 

CLARK  
(Smiles, still looking confused)  
Ah, yeah, well, sure Lex…

There is suddenly a level of quiet and it becomes clear that everyone is staring at CLARK including LOIS who looks horrified. 

LEX  
(In a little fake whisper)  
Uh, Clark. It might be best, you know, in public, if you called me "Mister President"… they're kinda sticklers for that sort of thing here. 

CLARK  
I'm sorry Le- Mister President. 

LEX  
I have to get ready to meet my cabinet; I don't have much time to chat so perhaps you'll walk with me?

CLARK  
Uh, sure – Mister President.

LOIS and CLARK follow LEX and the AGENTS through the main doors as we

CUT TO:

INT. CORRIDOR/BULLPEN/MERCY'S OFFICE/OVAL OFFICE – CONTINUOUS

They continue talking while walking,

LEX  
Clark, I hope you're okay with my speech.

CLARK  
Well, uh, it sounds like good news Mister President. How'd you manage to secure peace?

LEX  
That's not what I meant Clark and you know it. I know you're close to Superman and we don't see eye to eye on the subject.

LOIS  
That's an understatement. You've been determined to persecute-

LEX  
Ms Lane, I cut Clark a lot of slack because he's like a brother to me.   
(beat)  
That leniency does not extend to his partner. Am I clear?

LOIS  
(Subdued)  
Yes Mister President.

LEX  
Clark, I know you think Superman is strictly on the up and up. 

CLARK  
Well, I… uh…

LEX  
Don't worry about it Clark. I'm not about to make you choose between your friendship with Superman and your loyalty to me. I've never asked you to do that.. .not even after… not even… 

CLARK  
Look, I…

LEX  
No, Clark. Let me just say this. You and I have always had a rather flexible view of the law. I understand that. But when my Metahuman Measures Bill comes in after the State of the Union… well, even I won't be able to protect you from the force of the law.   
(pause)  
I'm sending the Vice President to Pokolistan for the signing of the treaty. 

LOIS  
The Vice President?? You're not…

LEX  
No Ms Lane. I'm sending the Vice President. My approval ratings are astronomical. I don't need the boost but when my second term runs out in six years I want there to be a natural choice in the election.   
(pause)  
As I was saying, I'm sending the Vice President and I want you to go with him. Get out of Metropolis for a bit, it'd be good for you, both of you. 

They walk into the Oval office.

LOIS  
(with forced calm)  
Look, Mister President.

LEX  
I'm sorry I don't have any more time just now.   
(calling outside)  
Miss Mercy, if you can see Mr Kent and Ms Lane out please. 

One of the AGENTS ushers LOIS and CLARK out of the Oval Office and closes the door behind them.   
LEX walks over to his desk and picks up the phone. 

LEX  
Ms Head?

CUT TO:

INT. CEO'S OFFICE AT LUTHORCORP HEADQUARTERS. –CONTINUOUS

TALIA is on the phone with LEX: 

TALIA  
Lex. You got my message.

LEX (V.O.)  
I did. I'm wondering if you have any more?

TALIA  
More?

LEX (V.O.)  
You know, more. Like an explanation.   
(beat)  
Like something that gives me the faintest clue what on Earth you think just happened!

CUT TO:

INT. THE OVAL OFFICE – CONTINUOUS

TALIA (V.O.)  
I don't know Lex. Everything went as planned.

LEX  
No Ms Head, everything did not go as planned, because in my plan the Senator was not scattered over the runway at Dulles Airport. 

TALIA (V.O.)   
We have no idea how the bomb got on board, neither do the FBI.

LEX  
I know what the FBI know, I had the Director in my office not three hours ago. 

TALIA (V.O.)  
I'm sorry Mister Luthor.

LEX  
(sighs)  
It's okay. I take it that no one saw you with your friend before the incident so there should be no problem. It's not an ideal solution by any means, but it's a solution of sorts.   
(beat)  
I've got a cabinet meeting. We'll talk later. 

Without waiting LEX puts down the phone and turns to leave through the side door into the CHIEF OF STAFF'S Office.

CUT TO:

INT- MERCY'S OFFICE – DAY

CLARK and LOIS are making their way back toward the bullpen when MERCY, the President's secretary catches them.

MERCY  
Mister Kent?

CLARK doesn't turn around. 

MERCY (CONT'D)  
Mister Kent!

CLARK  
(turning)  
What, me?  
LOIS  
There another Mister Kent here, genius?

CLARK  
No, uh, just can't get used to people calling me "Mister Kent".   
(to MERCY)  
I'm sorry, what is it?

MERCY  
The Vice President would like to meet with you.

CLARK  
The Vice President?

MERCY  
Yes sir.

CLARK  
Oh. Well. Sure.

LOIS  
Where do we go?

MERCY  
(Looking awkward)  
Well, I'm sorry but it's just Mister Kent he wants to see.

LOIS looks put out.

MERCY (CONT'D)  
Miss Hope will show you to the Roosevelt Room, Mister Kent. Ms Lane, perhaps you'd care for a cup of coffee?

LOIS looks very put out as we

CUT TO:

INT. The Roosevelt Room – DAY

CLARK is standing in the middle of the room looking up at the picture of Teddy Roosevelt.   
An older version of PETE comes in. 

PETE  
Clark!

CLARK  
Peter? Pete? What are you doing here?

PETE  
I work here Clark…   
CLARK  
Oh, well, sure I know that… I just meant… here now. 

PETE  
Didn't you get my message?

PETE walks back to the door and calls to a Secret Service Agent, TIM, who is standing outside. 

PETE (CONT'D)  
(To TIM)  
Tim?

CLARK  
No, I didn't get any message. I just got told that I was supposed to see the Vice President…

TIM comes over to PETE.

TIM  
Yes sir?

PETE  
No one is to disturb us. Make sure you knock before coming in. 

TIM  
Yes Mister Vice President.

CLARK  
(Stunned)  
…Which would be you!

PETE closes the door.

PETE  
We can talk here. My office is no good, but this room is fine. But take a look for bugs if you want to be sure.

CLARK  
Oh, right, sure. 

CLARK begins to spin around slowly, turning 360 degrees. We see through his x-ray vision the structure of the room.

CLARK (Cont'd)  
Nothing here. 

PETE   
Okay. I'm glad you're here Clark. 

CLARK  
I'm glad to see you too Pete. But… wow… Vice President?

PETE  
(Confused)  
Clark??

CLARK  
Uh… I guess I'm going to have to come clean. Pete you remember back in Smallville when the meteor hit the LutherCorp plant…?

FADE OUT:

FADE IN:

INT. THE ROOSEVELT ROOM – DAY

PETE and CLARK are sitting in opposite chairs. PETE is nodding slowly. 

PETE  
Well, it's not the first time we've had to deal with time travel.

CLARK  
It is for me. 

PETE  
Oh. Yeah. Well. Look there's not much I can do just now. I guess Lex told you that I'm being shipped off to Pokolistan sometime in the next thirty six hours?

CLARK nods.

PETE (Cont'd)  
Look, I'm going to give you a number.   
(He takes out his mobile telephone)  
Clark?

CLARK  
What?

PETE  
Your phone Clark?

CLARK takes out his mobile phone and tries to hand it to PETE.

PETE (Cont'd)  
(Sighs)  
No just hold it there.   
(Presses a button and CLARK's phone beeps)

CLARK  
I guess I'm not caught up on this technology.   
PETE  
This number is of Doctor Weismann over at Swan Labs. If anyone can help with this time travel he can. 

CLARK  
He knows?

PETE  
Uh, yes Clark. He's got your ship…

CLARK  
He's got my ship??

PETE   
This will take too long to explain. Look the reason I had to see you is to warn you about Lex. He's going to get this anti-metahuman legislation passed. He's got the State of the Union next week and he'll give Congress a plan to form a new Metahuman Control Agency… the MCA is going to have power to detain metahumans or their friends if they consider them a threat to national security. 

CLARK  
But Lex hasn't found out about me?

PETE  
No Clark. But he's going after Superman. 

CLARK  
Seems to me Superman can take care of himself. 

PETE  
But that's what he wants. If he can before Congress and show how Superman is not just outside of official law enforcement but resisting them then he'll be able to seize control of the country… maybe even Martial Law.

CLARK  
But what can I do? 

PETE  
Take it easy. Don't give him a target. 

CLARK  
But how will that help Superman?

PETE  
Because you…  
(pause)  
Oh Clark.  
(beat)  
You don't know? Nobody's told you?

CLARK  
Told me what, Pete?

PETE looks at his friend for a few moments. Uncertainty in his eyes.

PETE  
Clark. YOU are Superman.

FADE OUT:

FADE IN:

INT. THE KENT KITCHEN – DAY

CLARK and JONATHAN are both sitting looking at the kitchen table. Silently.

CLARK  
I can't believe I'm a Super Hero.

JONATHAN  
I can't believe Lex Luthor is president.

CLARK  
I can't believe, I write for the Daily Planet.

JONATHAN  
I can't believe my son wears tights in public.

CLARK looks up in surprise. They look at each other for a moment. Then both start laughing. 

JONATHAN (Cont'd)  
We'll get through this son. I know it must be hard and confusing but we'll get through this.

CLARK  
I know Dad. It's just so much to take in… 

JONATHAN  
And you're going to see this Doctor Weismann in Metropolis, tonight?

CLARK  
Yeah. Pete set it up. 

JONATHAN   
And we can trust this man?

CLARK  
Pete does and apparently we have before. 

JONATHAN   
Well, if Pete trusts him then I trust him.   
MARTHA comes running into the kitchen.

MARTHA  
(out of breath)   
Clark, you'd better see this. 

MARTHA moves to a bench in the kitchen where there's a small TV which she switches on. It's tuned to some daytime soap but she switches it quickly to a News channel.   
We see an image of billowing black smoke pouring out of a building then the screen cuts to show a reporter, REPORTER #2, standing amid smoke. 

CUT TO:

EXT. METROPOLIS STREET (ON CAMERA) -DAY

REPORTER #2  
The attack started just moments ago when three men in small personal-flyers appeared in Metropolis. They broadcast a statement saying, quote "the American government must pay for its support of the tyrannical Pokolistan regime and the suppression of the Pokolistani people. 

A loud explosion interrupts the reporter who ducks slightly as a few small pieces of debris fall around her and a fresh cloud of dark smoke falls across the screen.  
After a moment it clears.

REPORTER #2  
They fired a missile into the Metropolis LutherCorp building, which is still burning. This second shot has destroyed half of the town hall.  
  
The screen shows two burning buildings, then zooms in on one of the Flyers, small one-person craft in which the pilot lies on their stomach steering with controls in the nose of the plane.

We pull back to show MARTHA standing by the screen looking worried as we see shots of people running in the street and then a School Bus full of scared children. 

MARTHA  
Clark!

CLARK  
I've got to do something. 

MARTHA  
You mean Superman, Clark. 

CLARK  
Uh… I don't have one of those outfits on…

MARTHA  
Clark look upstairs, in my closet there's one of your outfits I was mending.   
CLARK looks in surprise at his mother, then his father. Then with super speed disappears upstairs.  
There's a beat and he re-appears in the kitchen.

This is the first time we've seen CLARK dressed as Superman. We hear the familiar opening notes of the Superman theme. 

MARTHA (CONT'D)  
Can you fly?

CLARK  
I don't know how, mom.

JONATHAN  
Then you'll just have to be as quick as you can. 

CLARK turns to go. 

JONATHAN (CONT'D)  
Be careful son. 

CLARK nods at his father and with super speed is gone.

FADE OUT:

FADE IN:

EXT. CROSSROADS OUTSIDE SMALLVILLE - DAY

CLARK, dressed as Superman is running towards us with super speed. He slows to normal speed then stops. He looks around and then continues speeding on his way. 

A road sign points two back to SMALLVILLE and forward to METROPOLIS.

CUT TO:

EXT. METROPOLIS STREET – DAY

People are running around, there is screaming. Smoke billows from the nearby LutherCorp building. 

CUT TO:

EXT. OUTSKIRTS OF METROPOLIS –DAY

CLARK runs through the streets at super speed. We see time slowing down as the people around are moving in slow-motion; CLARK is running between them, cape flapping behind him as he sprints down the street. 

CUT TO:  
EXT. METROPOLIS STREET – CONTINUOUS

CLARK runs into the street and comes to a stop. Things are still moving in slow motion as he takes in the scene. Then things come back to full speed and we get the full sound of the street. 

CUT TO:

INT. A FLYER COCKPIT – CONTINUOUS

TERRORIST #1 is piloting the flyer as it banks and turns amid the tall city buildings. He squeezes a trigger and a hail of bullets tears into the streets.

CUT TO:

EXT. METROPOLIS STREET – CONTINUOUS

We see bullets impacting on the road surface just yards away from the school bus. We see the panicked faces of the kids and the driver through the windows. 

Suddenly the bus begins to rise into the air. Underneath is CLARK. We see that there are overturned and burning cars all around him, they were blocking the bus's escape. 

CLARK carries the bus a few yards over the wreckage and then sets it down in the open. 

CLARK  
Go! Go!

CUT TO:

INT. BUS – CONTINUOUS

The bus driver puts the bus in gear and accelerates away. 

CUT TO:

EXT. METROPOLIS STREET – CONTINUOUS

CLARK turns to regard the flyers as the dance over the city buildings. 

CLARK looks at the burning LutherCorp building and disappears inside. 

INT. LUTHERCORP BUILDING – CONTINUOUS

CLARK is speeding up the stairs and sprints down the corridor. The layout is familiar, the same places we saw when MARTHA had been held hostage here. Only now debris and smoke give everything an otherworldly feel. The sound of the attack outside is muffled and distant. 

RESEARCHER (O.S.)  
Help! Please someone…   
(Starts coughing)  
Can anyone hear me?

CLARK looks around for the source of the cry. We see through his X-ray vision. There is someone lying trapped under a fallen ceiling support.   
CLARK moves around to see the RESEARCHER pinned, bruised and bleeding superficially. 

CLARK  
It's okay; I'll get you out. 

RESEARCHER  
Oh thank God… Superman!

CLARK stops a second. Then smiles and lifts the support clear and helps the man up.

CLARK  
You're okay; nothing is broken. Do you think you can walk? Can you make it out on your own?

RESEARCHER  
You bet Superman, you just get the men that did this. 

CLARK  
I'll do my best. 

CLARK turns and continues on his way at super speed as the RESEARCHED gives him an awed look.

CUT TO:

EXT ROOF OF THE LUTHORCORP BUILDING – DAY

CLARK bursts onto the roof. Looking around he rushes to the edge of the roof and looks down. The three flyers are banking, dipping and swooping in the air below. 

CLARK takes a few steps back, a deep breath and then rushed and leaps off the building. 

INT. A FLYER COCKPIT – CONTINUOUS

TERRORIST #1 looks up in surprise as he hears something land on top of the flyer.   
CLARK slides into view of the cockpit and raises a fist.   
CLARK punches through the side of the flyer like it's paper. He begins to try to wrestle for control of the Flyer. 

We focus on Clark who is looking a little disoriented. We take a shot of the view down which is a little blurry and the flyer rolls we get a dizzying spinning view of the street below. 

CLARK loses his grip and falls off the flyer, only holding on by the handhold he made by punching through the flyer's side. 

CLARK looks confused. He stares at the bulk of the flyer. 

We see with his X-Ray vision, we see the pilot's body taking up most of the flyer and by his feet the core of the engine. 

And in the centre of the engine we see three wired-up blocks of green kryptonite. 

CLARK's fingers slip off the flyer and he falls. 

EXT. METROPOLIS STREET – CONTINUOUS

CLARK smashes into the concrete. He's lying in a small dent in the road.   
For a moment he does not stir and then he sits up. Looking unsettled he stares up at the flyers as they swoop around the LutherCorp building. 

CLARK's gaze follows them and sees the Daily Planet building opposite. There's a person standing in one of the windows, looking scared and concerned. It's an older version of LANA LANG.

CLARK  
(Shouting)  
Lana??

LANA (Through the Window)  
Superman!

We focus on first CLARK, then LANA and then at a speeding flyer. We see a missile loosed from the flyer.  
We see through CLARK'S vision as everything happens in slow motion. The missile glows red and begins to power through the air, which ripples in its wake.  
The missile is clearly heading for the Daily Planet building. 

CLARK stares helplessly as the missile makes its way slowly but steadily towards the building. 

CLARK  
(Shouting)  
LANA!!!

FADE TO TITLE:

TO BE CONTINUED….

FADE TO BLACK: 

END OF SHOW


End file.
